#raoul bennett

[ntls-24722]

so answering that ask made me realize how weird my attachment to DJ is. not the attachment itself, but the character.

like look at this thing. look at his face. he and regular music man deviates so far from cawthon's normally more cartoonish style for humans. He feels way more human than he has any right to be. He really does look like an grown, bald man. with the way i play with him like a doll, it's like the fnaf version of those walter white shitposts where they turn him into a catboy

but i digress

again with these 2. can you tell i like pterosaurs?

Also, i tried to give him some clothing where whether or not it's clothing or a part of his body is ambiguous. Kind of like a Who from horton hears a who

So, Miguel has some biases. Though that's not Woolfe in the second picture, I haven't introduced him yet. But now I will! Beware of much blood and gorey details.

Miguel is not a dangerous place. There are no monsters or something trying to kill you, and there isn't even the threat of starvation or dehydration. There is just the long hallways, the expansive rolling hills. Miguel is generally harmless, due to her nature (up until very recently) of observing rather than interacting.

That is, until she wants to.

There are no dangers in Miguel except for two scenarios: Someone is in there who personally wants you dead, or Miguel personally wants you dead. Raoul Bennett combines both scenarios!

(I cannot believe he is the first character in this universe who I've given a last name.)

His thing was that he kind of had homicidal thoughts and a desire for a rush or whatever the hell serial killers feel and while he didn't act on it before, he did get stuck in Miguel and after getting stuck there for months the sensory deprivation and the way time blurred and how everything felt meaningless put gasoline to the flame and made it worse to the point where he actually did go out and start killing people after he got out.

But when it came to hide the bodies, he would bring them to Miguel and leave them there, but then he'd get stuck and get deprived of the high and the cycle just kinda repeated itself over and over again. He kind of had a weird cathartic relationship with Miguel even though he kind of hated it in there.

Miguel... kinda just let it happen. She didn't really care about humanity for a very long time, and while she did find them interesting, she also didn't care very much about their wellbeing. That and she actually did have an interest with Raoul on account of him bringing bodies in.

By chance he found Cameron and Woolfe in there and he was kind of interested in him with just... how weirdly joyous Cameron was and the kind of power he had in Miguel, alongside Woolfe's so he started trying to make the attempt to befriend them. They actually got along quite quickly and they started meeting up both inside Miguel and in reality. He had started to visit miguel more than he usually had for years.

However, by the time Raoul had been coming back more frequently to meet Cameron, Miguel had begun to realize the unsavory nature of what he was using her for, and had begun to concoct something for him.

On some random day without Woolfe, Raoul remembered that Cameron's alone with him without any sort of protection, and now that there was the change where the exit was far more visible, after killing Cameron he wouldn't be stuck there for months. Without really much of a plan (he didn't exactly need one) he decided to target Cameron and would've been successful in killing him if Cameron didn't barricade himself from Raoul.

Miguel has a rule in place where she cannot make things change under direct eye contact, and now that Cameron was hidden behind a door, when Raoul came bursting through, she had bait and switched the room for another - a sublevel that worked less as a seperate level but more like a mini Miguel.

It was one room. One tiny room with knives to an axe hung on the wall.

And man, was it itchy.

She had essentially planned out this gimmick where when Raoul was trapped there, whenever he had thought of how itchy he was or scratched it, it'd get twice as worse, but as much as it was a mild inconvenience at first, it stacks up quick.

The feeling of a nuisance turned to the feeling of insects crawling beneath his flesh, turned to outright agony as his nails weren't enough anymore, but the serrated edge of the knife was, until he realized if he took the axe and took off his arm, he wouldn't feel pain in that arm anymore. So he did.

Slicing away pieces of himself, Miguel wouldn't let him die, but he still bled, bled so much that it filled the room up to his hypothetical ankles - Hypothetical, since he tore off his legs and they weren't exactly upright anymore. But eventually, he no longer had anything to tear off, nor anything to pick up the axe with. But he still was in agony.

He stayed like that, unable to move or tear at the skin that hated him like this, with each second the pain growing worse, for maybe 20 years.

Miguel brought him back, with all 4 limbs and as pristine and perfect as he was, right at the moment before he opened the door to try and kill Cameron. There was nothing but a little note on the door asking him if he wanted to continue.

Raoul, smartly, did not, and he never returned to Miguel or his life of crime.

might need to draw this ngl

[haveyouseenthismovie-poll]

[letterboxd-loggd]

The Man I Love (1946) Raoul Walsh

December 15th 2024

[gatutor]

Bruce Bennett-Janis Paige "Cheyenne" 1947, de Raoul Walsh.

[lairreparablefugadeltiempo]

Wild Girl (Raoul Walsh, 1932)

[byneddiedingo]

Spencer Tracy and Joan Bennett in Me and My Gal (Raoul Walsh, 1932)

Cast: Spencer Tracy, Joan Bennett, Marion Burns, George Walsh, J. Farrell MacDonald, Noel Madison, Henry B. Walthall, Bert Hanlon, Adrian Morris, George Chandler. Screenplay: Arthur Kober, Philip Klein, Barry Conners. Cinematography: Arthur C. Miller. Art direction: Gordon Wiles. Film editing: Jack Murray.

Why have I never seen Me and My Gal before? Is it because it's not an easy movie to pigeonhole, being not quite romantic comedy, not quite screwball, and not quite crime drama? Or because it's one of those pre-Code movies that teeter on the edge of seriousness and back off from it in sometimes uncomfortable ways? It starts with an old man about to drown his dog and ends with the police detective protagonist fudging the truth to protect the not entirely innocent. And in between it's wall-to-wall wisecracks, most of them delivered by a never-better Spencer Tracy and Joan Bennett, who does the gum-chewing dame as well as anyone, even Joan Blondell. Tracy plays Danny Dolan, a cop whose attitude toward those he's supposed to protect and serve is summed up in his response to someone telling him there's been another bank robbery: "Oh, who'd the bank rob now?" And when told that it was the bank that got robbed, retorts, "Ah, turned the tables on 'em, eh? Smart!" There's also a slapstick drunk, a well-staged bank break-in, and even a parody of the Clark Gable and Norma Shearer movie based on Eugene O'Neill's Strange Interlude (Robert Z. Leonard, 1932), which Dolan remembers as Strange Inner Tube. Much of the credit for turning potential chaos into a thoroughly entertaining movie has to go to Raoul Walsh, one those Hollywood tough-guy directors who seem not to get the recognition they deserve today. 

[perfettamentechic]

24 luglio … ricordiamo …

24 luglio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Franco Zucca, doppiatore, voce di molti attori di fama mondiale, e attore teatrale italiano. La sua voce profonda ed espressiva lo ha subito portato a coltivare, in giovane età, la passione per la recitazione. Esordì sui palcoscenici di Trieste, per poi approdare nei teatri catanesi e romani. Nel corso della sua carriera Franco Zucca ha doppiato numerosi film e serie televisive, ma si è…

[pinknachowitch]

#carygrant #raoulwalsh #joanbennett

[pacingmusings]

Seen in 2023:

Wild Girl (Raoul Walsh), 1932

[ifyouhappentoremember]

Audio Gift

The Phantom of the Opera - Broadway - April 15, 2023 - Evening

Laird Mackintosh (u/s), Emilie Kouatchou, John Riddle

Untracked

Full Principle Cast: Laird Mackintosh (The Phantom), Emilie Kouatchou (Christine), John Riddle (Raoul), Nehal Joshi (Andre), Craig Bennett (Firmin), Maree Johnson (Madam Giry), Raquel Suarez Groen (Carlotta), Carlton Moe (Piangi), Sara Esty (Meg)

Notes:

The second to last show of the historic Broadway run and the final public performance.

As a result this is a very enthusiastic and responsive crowd.

There are multiple recordings of this night; perhaps it would be best for the traders to label this recording as ifyouhappentoremember’s master to keep the records organized?

This audio is to be gifted on request.

https://www.mediafire.com/file/4ld2ov8jfgh6li5/bway+150423.zip/file

[opera-ghost]

phantom of the opera broadway audio gift - 3/2/23

ben crawford, emilie kouatchou, greg mills

[untracked audio]

CAST: ben crawford (phantom), emilie kouatchou (christine), greg mills (u/s raoul), nehal joshi (andre), craig bennett (firmin), maree johnson (giry), janet saia (u/s carlotta), carlton moe (piangi), kelly loughran (u/s meg)

notes: click here for thoughts/visual notes. pic of playbill insert in folder with all the understudies. audio is pretty clear, may hear some rustling/sniffling during the final lair because :')

[ntls-24722]

comet's favorite form of affection: neck scratches

On the flipside. Comet as a human would probably be very awkward in giving Fritz affection on account of the fact he doesn't really know how to use his lips very well so he would still be licking Fritz like a dog and Fritz is giving him the combination of "human" affection and "spider" affection and. I imagine whenever Comet becomes human, the flurry of affection that occurs between them would disgust any bystanders

Bonus: Comet has a nictating membrane on the eyes beneath his helmet! You see it mostly when he's sleepy or tired because that's when he has a Quarter of his eyes open.

Christmas insanity with Gospel Music.

Wesley is completely normal once it's not Christmas, by the way. I imagine that is the time to have proper cutesey winter enjoyment after the storm that was Christmas Wesley because they have tons of holiday paraphernalia left over.

Cameron doodles (important for ecosystem)

[behindthemirrorofmusic]

Christine-mas continues this week on Behind the Mirror of Music as Dannii Cohen talks to Raissa Katona Bennett.

Raissa Katona Bennett joined the original cast of "The Phantom of the Opera" nine months into it's first year on Broadway. Her Phantoms included: Steve Barton, Kevin Gray, Brad Little, Davis Gaines, Jeff Keller, Hugh Panaro and Timothy Nolen.

She was also part of the LA Production and various touring casts.

Next to her time on Phantom Raissa starred in Cats, Steal Magnolias, Parade, Fun Home, The Fantasticks, Beauty and the Beast and much more. Raissa is also a beloved cabaret and concert performer.

During the interview we discuss her time on Phantom: how she joined the cast, working with Hal Prince, how she sees the relationship of Christine with both The Phantom/Erik and Raoul and much more.

We also discuss Cats, the music of Andrew Lloyd Webber and how she and her husband became Dog Fosters.

This and much more.

[filmnoirfoundation]

Be sure to check out our TV listings page to see all the noirs playing this month on TCM!

Monday, July 10, 3:00 AM

THE MAN I LOVE (1947): In this rather soapy noir, singer Petey Brown (Ida Lupino) lands a job at small-time-hood Nicky Toresca's (Robert Alda) nightclub while visiting her two sisters and brother, all of whom are in a rather remarkable amount of trouble, romantic and otherwise. While evading Toresca's unwanted advances, she falls for an ex-jazz pianist San Thomas (Bruce Bennett), who still carries a torch for his ex-wife. Will Sand start a new life with the songbird or run off to sea. Dir. Raoul Walsh

[eahostudiogallery]

Taking Notes

Kenneth Martin - Chance and Order

::

Claire-Louise Bennett - Checkout 19

::

Dieter Roth - bok 3a, 1961

::

Cy Twombly - Untitled

::

Raoul De Keyser - Poetry

::

Gail Tarantino - Oh, Hello

::

Aaron Marcus - Search For Meaning, 1972

::

Mary McDonnell - Untitled

::

Edward Hopper

::

Merce Cunningham - Notes for Roaratorio

::

Michael Krebber

::

Fred Sandback - Untitled, 1973

::

Mark Rothko - Untitled, c. 1962

::

Saul Steinberg

::

unknown

::

El lissitzky - Pencil Study, 1920

::

[shiningwizard]

Me and My Gal (Raoul Walsh, 1932)

Usually i'm all for pre-code fast and loose sloppiness but another second spent with that drunk character and violence against violence let the round ups begin. Maybe it's to match the viewing experience to Spencer Tracey's life as a police officer: half spent managing, half slapdashly solving crimes, half falling in love. Other than some at times real good photography and editing, there's not much to this other than he and Joan Bennett's interactions. Pin a movie on a star. Remember when you could get away with that?